Showing posts with label Stephen Dorff. Show all posts
Showing posts with label Stephen Dorff. Show all posts

Saturday, 8 June 2013

The Iceman

Between 1948 and 1986, New Jersey Mafia hitman Richard Kuklinski is said to have killed somewhere between one hundred and two hundred and fifty men. Having committed his first murder when in his middle teens, Kuklinski eventually gravitated towards the world of organised crime and for several decades worked as a contract killer for the DeCavalcante crime family based in Newark, New Jersey. He did all of this while posing to his family as a successful currency broker. The Iceman is Israeli director Ariel Vromen’s biopic thriller of the ice cold killer, based on interviews with the man himself. It stars an in form (when is he not?) Michael Shannon in the lead role.

The Iceman is a film that I’ve been hotly anticipating for some time. I have an interest in the history of the Cosa Nostra and find that it often forms the basis of excellent movies. Although this is an above average film and features several great moments, it won’t go down with the likes of The Godfather, GoodFellas or even Donnie Brasco in the annals of the great mafia movies. I expect there will be many comparisons drawn to Martin Scorsese’s masterpiece of the genre in particular but unfortunately, despite a fantastic basis for a story, the film is like a skimming stone. It skips along the surface without delving into the murky deep beneath the surface.

Sunday, 15 July 2012


A newly famous actor Johnny Marco (Stephen Dorff) spends his days drinking, taking pills and having casual sex with a string of beautiful women while residing at the Chateau Marmont in Los Angeles. Occasionally he will be called to give an interview or sent to a photo shoot with a co-star but usually he has his days to himself, sometimes hanging out with his school friend Sammy (Chris Pontius). One day he receives an unexpected visit from his eleven year old daughter Cleo (Elle Fanning) whose stay challenges his lifestyle.
The film can be seen in a semi autobiographic sense as director Sofia Coppola spent much of her childhood following her father Frances Ford around the world for film making and press. Cleo can be seen as a version of herself while Johnny is the archetypal star for whom life has become easy and boring. The main problem with the film is that we, the audience, are meant to feel sorry for Johnny but I did not.